Abbadia San Salvatore

Abbey of Sant'Antimo




Archipelago Toscano




Badia di Coltibuono

Bagno Vignoni

Barberino Val d'Elsa


Bolsena Lake


Brunello di Montalcino




Castel del Piano



Castellina in Chianti


Castelnuovo Bererdenga

Castiglioncello Bandini

Castiglione della Pescaia

Castiglione d'Orcia

Castiglion Fiorentino



Chinaciano Terme




Città di Castello

CivitÀ di Bagnoregio

Colle Val d'Elsa


Crete Senesi

Diaccia Botrona

Isola d'Elba



Gaiole in Chianti



Greve in Chianti


Lago Trasimeno

La Foce



Massa Marittima

Montagnola Senese


Monte Amiata

Monte Argentario





Monte Oliveto Maggiore








Parco Naturale della Maremma







Radda in Chianti



San Bruzio

San Casciano dei Bagni

San Galgano

San Gimignano

San Giovanni d'Asso

San Quirico d'Orcia


Santa Fiora














Tavernelle Val di Pesa

Torrita di Siena




Val d'Elsa

Val di Merse

Val d'Orcia

Valle d'Ombrone




Walking in Tuscany
View Tappa 12 in a larger dimension
Walking trails in Tuscany Surroundings

The Via Francigena | From Siena to Ponte d'Arbia


The Via Francigena unlike the Camino de Santiago in Spain is still undiscovered.
Historically, the Via Francigena was a broad network of trails originating in ancient Francia an ever-changing backbone of Roman and medieval roads leading to Rome. It was known as Via Francigena, for the first time, in 876. In the year 990, the English Archbishop, Sigeric the Serious of Canterbury, went to Rome to receive the pallium from Pope John XV. On his return trip to England, he recorded the route he took, providing the first written documentation of the Via Francigena.

Some sections of the trail are elusive, signage is still a problem in many places and some stages are long. It is helpful to know a bit of Italian. However, during the past couple of years sections of the trail where re-routed away from busy roads, and there are many plans underway to improve the existing sections, enhance the signage and expand the infrastructure including accommodation.
The Via Francigena offers a wonderful opportunity to experience and enjoy parts of Italy that even many Italians have not seen. Along the way, you can taste some extraordinary unique regional foods and wines and witness hundred if not thousands of years of history and culture. And always there is the fine universal friendly Italian hospitality to greet you throughout your journey and at the end of each day.
Today, the Via Francigena in Italy starts at Gran San Bernardo and finishes in Rome, approximately 1000km later. It takes approximately 44 to 48 days to walk it (or less than half this time by bike) in Italy.

The Via Francigena in Tuscany

Tuscany is also one of the most beautiful, but most discovered regions of Italy, but few people choose to walk through it. The ideal time to hike is from April through to October however, July and August can be hot especially further south you go.

Today the Via Francigena enters Tuscany at the Cisa Pass in the area called Lunigiana north of Pontremoli and heads south toward Acquapendente in Latium passing through Lucca and Siena. It is still possible to follow approximately the ancient road and to find refuge in most of the same villages mentioned by Sigeric. The route passes through four distinct geographical areas where the landscape, the building materials and the gastronomic traditions follow their own local traditions, occasionally still reflecting mediaeval influences.
The first of these four areas begins at the Cisa Pass, the crossing point from the Region of Emilia Romagna into the Region of Tuscany, north of Pontremoli in the Appennine mountains, and follows the valley of the Magra river down to Aulla and Sarzana. This area is called Lunigiana, after the Roman port city of Luni. This area is characterised by castles, walled mediaeval villages and isolated monasteries, constructed primarily of the gray limestone found locally.

The second area begins at Sarzana and goes past Lucca to Altopascio. The principal characteristic of this sector is that the road hugs the foot of the Appuan alps and stays inland from the sea coast. The main towns one sees are Sarzana, Carrara, Massa and Pietrasanta, all in the marble working area, and Camaiore which is the only village mentioned by Sigeric after Luni.

The third sector is the longest segment of the Francigena and runs from Altopascio, down to Fucecchio, and on to Sienna passing through Castelfiorentino, Certaldo, Poggibonsi, San Gimignano and Monteriggioni before it arrives in Sienna. The fourth sector begins in Siena and goes south to Abbadia San Salvatore. From Siena south, the Via Francigena closely follows the Via Cassia, another of the old roman roads. Visits to Isola d'Arbia, Buonconvento, Montalcino, Pienza, the Abbey of Monte Oliveto Maggiore and San Quirico d'Orcia are all worthwhile. However the last two stops of Sigeric, Bagno Vignoni and Abbadia San Salvatore, are the most spectacular. Bagno Vignoni is where for centuries people have gone for health cures because the sulphur water baths.

Walking in Tuscany | The Via Francigena in the Siena Region

From Siena to Ponte d'Arbia

Siena, Duomo

12 La Via Francigena | From Siena to Ponte d'Arbia - 28.5 km

Departure: Siena, Piazza del Campo
Arrival: Ponte D'Arbia, Centro Cresti
Length: 28.5 km
ype of travel: On foot, by mountain bike
Travel time on foot (h: min): 6.20

Getting to the starting point: Empoli-Siena-Grosseto and Siena-Chiusi railway lines, Siena or Monteroni d'Arbia station



The 28.5 km leg of the Via Francigena begins in Siena and takes less than 7 hours. A challenging course along the roads of the Val d'Arbia, with rolling landscapes and views on the skyline of the city of Siena, leading to the Grancia di Cuna, an ancient fortified farm that was owned by the Santa Maria della Scala hospice.
Continuing along the foothills of the Siena Crete, you pass Monteroni d'Arbia and reach Quinciano. A short distance away is the fortified town of Lucignano, with the Romanesque church of San Giovanni Battista. After a stretch along the railway line is the end of this leg in Ponte d'Arbia.[2]


Map | The Via Francigena | Siena - Ponte d'Arbia

Le cartine dettagliate del percorso si possono scaricare dal sito |
Scarica in pdf le mappe 1:10.000 della Tappa 12

The itinerary starts in the heart of the city: il Campo, the spectacular shell-shaped square where the famous Palio di Siena is held each year. You can admire the wonderful Palazzo Pubblico, whose interior is decorated with allegories by Lorenzetti and which houses the interesting Civic Museum in this square paved with the characteristic red bricks.
You can also visit the huge Tower del Mangia in the square. The top is 120 meters from the ground, from where you have a wonderful view of the city.


At the turn of the thirteenth and fourteenth centuries, Siena reached dimensions worthy of other major urban centers of Europe at the time. The city offered to pilgrims health care and lodgings at the Hospital of Santa Maria della Scala, built in the eleventh century; it quickly became one of the largest foundations of its kind, and a large number of hotels and inns were located mostly in the Camollia and San Martino areas, located near the Via Francigena.
The hospital thanks to bequests and donations received at that time had many agricultural properties, called grancie, who were in every corner of the state of Siena as in Val d'Orcia, in Val d'Arbia (Grancia of Cuna), in the Masse, in Crete Senesi and Maremma. For almost five centuries these possessions were the source of support of the Hospital of Santa Maria della Scala, until, in the second half of the eighteenth century, was ordered the sale.

Ospedale Santa Maria della Scala


Santa Maria della Scala is located next to the city's cathedral, it is one of the most ancient European hospitals. It is now turned into a museum complex.
The hospital was founded by the Cathedral's priests across the Via Francigena to house the pilgrims coming from France and northern Europe to Rome. It also performed charitable work for the poor, including an orphanage for abandoned children. In the 15th century it became under the responsibility of the city's commune, receiving numerous donations from the local wealthiest families. It also received important artistic works: these include a famous fresco cycle (now lost) with Histories of the Virgin, on the façade, by Simone Martini, Ambrogio and Pietro Lorenzetti (1335); the series of frescoes with the Stories of the Hospital in the Pellegrinaio Hall, by Domenico di Bartolo, Lorenzo Vecchietta and Priamo della Quercia; the old sacristy, also decorated by Vecchietta; the Manto Chapel, with a lunette by Domenico Beccafumi; the 15th Fonta Gaia by Jacopo della Quercia; and the decoration of the large apse by Sebastiano Conca (late 18th century).

Ospedale Santa Maria della Scala

The most prestigious example of Sienese art in the Santa Maria della Scala complex, is the Pellegrinaio ward or 'pilgrims' hospice', built in the second half of the 14th century and decorated almost a century later with an important fresco cycle devoted to the history of the hospital. Artistic Treasures include a famous fresco cycle (now lost) with Histories of the Virgin, on the façade, by Simone Martini, Ambrogio and Pietro Lorenzetti (1335); the series of frescoes with the Stories of the Hospital in the Pellegrinaio Hall, by Domenico di Bartolo, Lorenzo Vecchietta and Priamo della Quercia, the old sacristy, also decorated by Vecchietta, the Manto Chapel, with a lunette by Domenico Beccafumi, the 15th Fonta Gaia by Jacopo della Quercia, and the decoration of the large apse by Sebastiano Conca (late 18th century).

Domenico di Bartolo, Pranzo dei poveri, Siena, Sala del Pellegrinaio dell'Ospitale di Santa Maria della Scala

Domenico di Bartolo's major surviving achievement is his participation in a series of frescoes in the Pellegrinaio, the hall for pilgrims at Siena's Hospital of Santa Maria della Scala. The Frescoes have unusual secular subjects, which deal with the charitable, civic, and medical activities of the hospital. The Gothic vaulting of the room determined the arched openings. The settings are sometimes the rooms of the hospital itself. In their naturalism and their wealth of imagery drawn from contemporary life, these frescoes provide remarkable insight into Sienese activities.

In the six bays of the hall, two frescoes on the east wall (The Enlargement of the Hospital; Extension of Privileges by Celestine III), and four on the north wall (Feeding of the Poor; Raising and Marrying of Orphans; Reception of Pilgrims and Distribution of Alms; Caring for the Sick) were executed by Domenico di Bartolo.

The cycle was painted on four of the six 15th-century spans of the Pellegrinaio, although some traces of fresco can still be seen in the first one, probably referable to earlier paintings depicting the Storie di Tobia. These paintings were executed before 1440 by Lorenzo Vecchietta and Luciano di Giovanni da Velletri, but were later destroyed because they were deemed obsolete and unsuitable to adequately represent the history of Santa Maria, which in the meantime was acquiring growing prestige and power. The iconographic programme was conceived by rector Giovanni di Francesco Buzzichelli (1434–1444), who wanted to mark a significant change in a strongly humanistic sense, creating new compositions governed by a strict perspective, revolutionary for that time. The reference model was no longer based on religious fresco cycles on many registers, but on profane compositions that illustrated mostly cycles of chivalry or in any case, ‘civil’ histories on the walls of the representation halls of private houses or in the halls of the public buildings. This revision according to the Renaissance models was aimed at releasing the subjects of the frescoes from the religious themes and concentrate the attention on the illustration of lay myths of the foundation of the institution or on the realistic representation of the acts and works of piety that marked the daily life of the hospital.

Domenico di Bartolo was a Sienese painter, some of his paintings were long attributed to his tutor, Taddeo di Bartolo. According to Vasari, although unconfirmed by other sources, he spent a period of time in Florence and had even worked in the Carmine church, where he is said to have painted the main altar (lost). He painted one of the most beautiful panels of the Early Renaissance, the Madonna dell' Umiltà. It is signed and dated 1433 and is one of the earliest truly Masaccesque paintings for which we have a firm date.
In Domenico's art following the Madonna of Humility, he becomes progressively removed from Florentine examples, and in the frescoes he painted in the mid-1440s for the Pellegrinaio of the Hospital of Santa Maria della Scala in Siena he tends toward caricature and illustration.
Domenico di Bartolo was the tutor of Piero della Francesca.

Vecchietta was born in Castiglione d'Orcia, and lived in Siena. Much of his work may be found there, particularly at the Hospital of Santa Maria della Scala, lending him yet another name: pittor dello spedale (or 'painter of the hospital').
For the Pellegrinaio (Pilgrim Hall) at the Hospital complex, Vecchietta painted a series of frescoes, along with Domenico di Bartolo and Priamo della Quercia, including The Founding of the Spedale and The Vision of Santa Sorore, depicting a dream of the mother of the cobbler Sorore, the mythical founder of the Hospital.

Later, around 1444, he created the Cappella del Sacro Chiodo, also known as the Old Sacristy, decorated with his own work. The frescoes included Annunciation, Nativity, and Last Judgment scenes, and an Allegory of the Ladder depicting children climbing to heaven. For the high altar of the Church of the Santissima Annunziata, within the Hospital complex, he created a bronze figure of the Risen Christ (signed and dated 1476), which shows the influence of Donatello.
"Vecchietta's Risen Christ combines the intensity of feeling associated with medieval German sculpture with that tactile physical description that is the hallmark of Renaissance art: It is unique and -- to my mind at least -- one of the greatest works of Western sculpture.[0]

Siena | Santa Maria della Scala

Complesso Museale di Santa Maria della Scala
Piazza Duomo, 2
Opening hours:10.30 - 18.30


Santa Maria della Scala served as a hospital
from the 10th Century until 1996.

Vecchietta, Risen Christ, c. 1476, Bronze,
Chiesa dell'Ospedale della Scala, Siena


Piazza del Campo is the principal public space of the historic center of Siena, Tuscany, Italy and is regarded as one of Europe's greatest medieval squares. It is renowned worldwide for its beauty and architectural integrity. The Palazzo Pubblico and its Torre del Mangia, as well as various palazzi signorili surround the shell-shaped piazza.

The open site was a marketplace established before the thirteenth century on a sloping site near the meeting point of the three hillside communities that coalesced to form Siena: the Castellare, the San Martino and the Camollia. Siena may have had earlier Etruscan settlements, but it was not a considerable Roman settlement, and the campo does not lie on the site of a Roman forum, as is sometimes suggested. It was paved in 1349 in fishbone-patterned red brick with ten lines of travertine, which divide the piazza into nine sections, radiating from the mouth of the gavinone (the central water drain) in front of the Palazzo Pubblico. The number of divisions are held to be symbolic of the rule of The Nine (Noveschi) who laid out the campo and governed Siena at the height of its mediaeval splendour between 1292-1355. It was and remains the focal point of public life in the City. From the piazza, eleven narrow shaded streets radiate into the city.

The history of Siena has been made on the Piazza del Campo, or better, il Campo, as the Sienese call it. Here the Sienese organised their spectacular and terrible 'games', later replaced by the Palio which takes place every year on July 2 and August 16. The Palio is a historical secular tradition strictly connected with the origin of the Contradas of Siena (districts into which the town is divided).

The Palazzo Pubblico (town hall) is a palace on the Piazza del Campo. Construction began in 1297 and its original purpose was to house the republican government, consisting of the Podestà and Council of Nine.
The outside of the structure is an example of Italian medieval architecture with Gothic influences. The lower story is stone; the upper crenelatted stories are made of brick. The facade of the palace is curved slightly inwards (concave) to reflect the outwards curve (convex) of the Piazza del Campo, Siena's central square of which the Palace is the focal point. The campanile or bell tower, Torre del Mangia, was built between 1325 and 1344 with its crown designed by the painter, Lippo Memmi. The tower was designed to be taller than the tower in neighboring rival Florence; at the time it was the tallest structure in Italy.

Siena | Palazzo Pubblico

The Via Francigena | From Siena to Ponte d'Arbia | Directions and main sights

The Via Francigena crosses the whole city and exits through Porta Romana to the south. From Piazzsa del Campo, walk down Via Roma in the direction of Porta Romana. To the right is the church of the Monastery of Santa Maria degli Angeli, known as del Santuccio, now an education centre. Opposite, at number 50, is the Museo Bologna-Buonsignori, which houses an important collection of Etruscan ceramics once the property of Clemente Bologna di Montepulciano. To the left of Porta Romana is the museum of the Contrada di Valdimontone and then Piazza Alessandro Manzoni, with the magnificent flight of steps leading up to the Basilica dei Servi.

From Porta Romana, the Via Francigena continues south, along a route that largely coincides with highway 2. On this street there are the still ancient hospitals of St. Mary of Bellem, known as the leper house of St. Lazarus, and two others, the Chaplet and the Hill of Malamerenda.

Siena - Porta Romana


The Porta Romana, one of the old gates in the city walls of Siena, guarded the road leading to Rome. The gate was built starting in 1327.


Siena - Porta Romana ricostruita nel 1327
da Maestro Angiolo di Ventura

Chiesa di San Lazzaro dei Lebbrosi


Chiesa di Santa Maria in Bethlem






Santi Simone e Giuda a Colle di Malamerenda


Isola d'Arbia


Just outside town is the church of Sant’Ilario, which was a popular stopping point for pilgrims on their way to Rome. After about 10 kilometres there is Buonconvento, a small hamlet that was once a strategic outpost of the lands governed by the Republic of Siena.

chiesetta romanica di Sant'Ilario d'Arbia

Ponte a Tressa - S. Angelo in Tressa


Grancia di Cuna


The village of Cuna stands along the SS2 Cassia, a few hundred meters before entering in Monteroni d' Arbia

Inside Grancia di Cuna, Monteroni d'Arbia |


Grancia di Cuna
Monteroni d'Arbia

Pieve of St. John the Baptist in the frazione of Corsano

Monteroni d'Arbia is considered the gateway to the southern province of Siena, a beautiful area crossed by the Via Cassia. It is a small country whose development is linked to the Hospital of Santa Maria della Scala. The town of 7,161 inhabitants is 13 km from Siena and was formed in 1810, under Napoleonic rule. Until that moment, in fact, it was part of Monteroni Podesta Buonconvento.

Monteroni d'Arbia takes its names from the Arbia torrent, a tributary of the Ombrone River.
The pieve of St. John the Baptist, at Corsano, dates from before 1031. With a nave and two aisles, it is an example of Romanesque architecture with Pisan and Lombard influences. It houses two canvasses by Alessandro Casolari.
The church is mentioned since 1031. The front, organized in two orders with small arches and semi-columns in the highest part and with wide blinded –arches on the base, is inspired by Pisano models, interpreted in Lombard terms. On the inside, with three naves, the Romanesque elements are evident in the semi-pilasters of the front and in the pilasters of the first span. The rest of the arches of division, in fired-brick, belongs to a following stage. Noteworthy are two canvas(now in restructuring) by Alessandro Casolani; the “Annunciation” and the “Adoration of the Pastors” and a sculpture in polychrome terracotta which represents Saint Agatha, attributable to Carlo di Andrea Galletti.

The church of Sts. James and Chrstopher, at Cuna, has remains of 14th century frescoes.


Mulino ad acqua fortificato, Monteroni d'Arbia.


Taking the Cassia in the direction of Buonconvento you soon come to Lucignano d'Arbia, a fortified village where the Romanesque parish church of San Giovanni Battista frescoed in the 6th century by Arcangelo Salimbeni is well worth a visit. Setting out once more from the Cassia, the road leading to Radi follows another splendid stretch of the Crete.
. The twelfth century parish church, dedicated to St. John the Baptist, holds a Crucifixion by Bartolomeo Neri (Riccio).

la Pieve di San Giovanni Battista a Lucignano d'Arbia
Cherubini Photography - Monteroni d'Arbia and Lucignano d'Arbia


Lucignano d'Arbia
Quinciano and the Cappella Pieri Nerli


Quinciano si trova su una collina fra il torrente Sorra e la via Cassia, circa 3 Km a sud di Monteroni.
La chiesa di Sant'Albano, ormai completamente spoglia, conservava fino a pochi anni fa due importanti testimonianze della sua storia: la lunetta di Sano di Pietro con l' "Incoronazione della Vergine e Angeli" e l' "Immacolata Concezione coi Santi Albano e Pietro" di Rutilio Manetti (1608), oggi conservate al Museo di Buonconvento. Nell'interno a navata unica si conservano un bassorilievo in stucco policromo della fine del XVI sec. con la "Madonna col Bambino e Angeli" cui era riservata la devozione delle popolazioni locali, come attestano gli ex-voto che la circondano, e un "Salvator Mundi", affresco del XVII secolo; ai lati della pittura erano collocate due statue in legno policromato raffiguranti la "Vergine Annunciata e San Giuseppe", oggi esposte al Museo di Buonconvento.

The Cappella Pieri Nerli or Pierli Nerli chapel is in Quinciano, in the Commune of Monteroni d’Arbia. It was erected by order of the Count Ferdinando Pierli Nerli, who assigned the project to Giulio Rossi. When he died, it was finished in 1861 by Giuseppe Partini. It is a sort of anthology of the sienese purist culture of the second half of the XIX century. The building, with a rectangular plant, external face in bricks, is covered by a cross vault; the entrance portal is preceded by a narthex with pinnacle. The inside is illuminated by four circular eyes. The most important grave is that dedicated to the father of the client, made by Sarrocchi and it represents the “Desolation consoled by the Faith”. In the ceiling of the vaults, Cesare Maccari frescoed the “Four Evangelists”, on the walls Alessandro Franchi painted the “Four cardinal virtues”.

Castello di Saltennano is an imposing medieval complex, a fortification surrounded by boundary walls, which can still be seen in the three massive embattled towers.
The castle is built around a central court, with an only brick entrance and an arch furnished with openings between supporting corbels for dropping stones on assailants.


Cappella Pieri Nerli
Ponte d'Arbia

Quinciano, Monteroni d'Arbia

La Francigena in provincia di Siena

Via Francigena | From Gambassi Terme to San Gimignano

Via Francigena | From San Gimignano to Monteriggioni

Via Francigena | From Monteriggioni to Siena

Percorsi trekking | Trekking nella Montagnola senese tra Monteriggioni e Badia a Isola | Anello Monteriggioni | Monteriggioni – Badia a Isola – Castel Petraia – Monte Maggio


  Trezzini, La Via Francigena. Vademecum dal Gran San Bernardo a Roma (Association Via Francigena) 2000


Guida alla Via Francigena: 900 chilometri a piedi sulle strade del pellegrinaggio verso Roma, by Monica d'Atti and Franco Cinti. (Supplemento al numero 132, aprile 2006, di "Terra di Mezzo." Piazza Napoli 30/6, 20146 Milano.) ISBN: 88-8938-565-0.
In 38 tappe, il percorso dell’antica Via Francigena, dal Monginevro fino a Roma. Un’opera unica, per rigore e completezza, che riporta alla luce l’intero tracciato che ha visto camminare verso Roma generazioni di europei.
Tappa per tappa attraverso Piemonte, Lombardia, Emilia, Toscana e Lazio: e, per ogni giorno, la descrizione dettagliata del percorso, le cartine, i chilometraggi, dove trovare ospitalità, i luoghi da visitare.
Il percorso è suddiviso in tratti e ognuno può scegliere le distanze in base alle proprie forze e al tempo disponibile, ma ogni tappa è un frammento di un cammino unico che attraversa scenari di indescrivibile bellezza ricchi di storia e di tradizioni.

La prima e unica cartografia completa e dettagliata della Via Francigena: il percorso principale e tutte le varianti. 38 tappe, 900 chilometri a piedi, dal Monginevro a Roma, lungo il tracciato storico attraverso Piemonte, Lombardia, Emilia, Toscana e Lazio: le cartine e tutte le informazioni necessarie per orientarsi.
ISBN 9788889385609


  Gran parte di questo percorso della Francigena si sovrappone ai sentieri delle Crete senesi. Quindi si consiglia di premunirsi della carta escursionistica scala 1/25000: Crete Senesi –1 Val d’Arbia, edita da Multigraphic di Firenze.

  Monica D’Atti & Franco Cinti, La Via Francigena. Cartografia e GPS. Dal Monginevro a Roma lungo l’itinerario storico, Milan: Terre di Mezzo Editore, 2007. ISBN: 978-88-8985-60-9

La prima e unica cartografia completa e dettagliata della Via Francigena: il percorso principale e tutte le varianti. 38 tappe, 900 chilometri a piedi, dal Monginevro a Roma, lungo il tracciato storico attraverso Piemonte, Lombardia, Emilia, Toscana e Lazio: le cartine e tutte le informazioni necessarie per orientarsi.
ISBN 978888938560

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[2] Fonte: La Via Francigena |



Buonconvento, un tratto delle mura (sec. XIV)


The Museo della Val d’Arbia (Val d’Arbia Museum) has recently been opened in the centre of Buonconvento. Here, visitors will find works of art by Sano di Pietro and Matteo di Giovanni. Other sites of interest in the town include the Museo di Arte Sacra (the Museum of Sacred Art), Palazzo Ricci, the church of San Pietro e Paolo (Saint Peter and Saint Paul) and the Oratorio di San Sebastiano (the Oratory of Saint Sebastian).
Buonconvento had a street market on Saturday mornings.

Museo di Arte Sacra della Val d'Arbia
| Arbia Valley Museum of Religious Art
Via Soccini, 18 - Buonconvento (Si)
Collection |

Opening time: Tues. to Sat. 10-12 and 15-17, Sun. 10-12 (winter). Tues. to Sat. 10-12 and 16-19, Sun. 10-12 (summer) • closed on Monday.

Museum of mezzadria
Via Soccini 1, 53022 Buonconvento

Opening hours:
From Thursday to Sunday from 10:00am to 6:00pm
Closed on Mondays, 1th May, 15th Aug, on Christmas and New Year's Day
Located in the historical centre of Buonconvento in the Tinaia del Taja, this museum helps visitors discover the traditional lifestyle of sharecroppers and the mezzadria agricultural system, the owner-manager-tenant farm system that was suddenly dismantled during the 1960s.


Museo Archeologico e d'Arte Sacra
| Museum of Religious Art
Palazzo Corboli
Corso Matteotti, 46 - 53042 Asciano (Si)
Palazzo Corboli belonged to the noble Sienese Bandinelli family, whose coat of arms recurs throughout the painted decoration of the building, which features two fourteenth-century allegorical fresco cycles in the Aristotle Room and the Room of the Seasons, attributed to Cristoforo di Bindoccio and Meo di Pero.

The sacred art section presents works by artists such as Giovanni Pisano, Segna di Bonaventura, Ambrogio Lorenzetti, Francesco di Valdambrino, fifteenth-century panel paintings by the Osservanza Master, Pietro di Giovanni d’Ambrogio, Matteo di Giovanni e Giovanni di Paolo, and other paintings from later centuries, including the Crucifixion by Bernardino Mei, one of the leading baroque painters in Siena.
The archeological section is housed in several rooms on the second and third floors, displaying finds that document the presence of Etruscan settlements in the Upper Ombrone Valley.

November-February: Friday to Sunday

March-October: Tueday to Sunday



Ambrogio Lorenzetti, San Michele Arcangelo che uccide il drago con i Santi Benedetto e Bartolomeo, Museo d’Arte Sacra, Asciano

Birth of the Virgin with other Scenes from her Life, the Master of the Osservanza Triptych, ca. 1428-39, Museo d'Arte Sacra, Asciano
Master of the Osservanza, Natività della Vergine, ca. 1428-39, Museo diocesano di Asciano

Holiday accomodation Tuscany

Tuscany is one of the most popular tourist destinations in the world. Known for its enchanting landscapes, its fantastic and genuine food and beautiful towns as Florence, Pisa, Lucca and Siena. Found in the beautiful Maremma, close to San Quirico d'Orcia, Montalcino, Pienza, Montepulciano and the medieval hilltop village of Castiglioncello Bandini, Podere Santa Pia is a perfect Tuscan getaway.

The Val d'Orcia stretches from south of Siena to Monte Amiata. The valley plain is a classic example of the Tuscan landscape, with endless hills, cypresses, wine, corn fields and streams.
The walled medieval town of Pienza, by common consent one of Tuscany's most beautiful, is just one hour away and has a small but select group of bars, restaurants and shops. Pienza has some wonderful views over the valley below, so be sure to climb up from the Porta Romana to the via Santa Caterina at the edge of the town and marvel at the wonderful panorama.

Tuscan holiday houses | Podere Santa Pia, a jewel in the heart of the Valle d'Ombrone

Podere Santa Pia, garden
Podere Santa Pia
Abbadia d’Ombrone and Monastero d’Ombrone near Castelnuovo Berardenga.
Badia di Sicille, Trequanda
Colle di Val d'Elsa
San Gimignano
Siena Main sights

Although it is difficult to identify a precise route of the Via Francigena, the stretch that crosses the province of Siena is one of the most fascinating sights of artistic and cultural as well as pristine natural areas.
The historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nation's most visited tourist attractions, with over 163,000 international arrivals in 2008. Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year.
And it is thanks to this important road that Siena flourished in the first centuries of second millennium. Not only the Via Francigena does runs through the province of Siena from north to south; it also penetrates into the town of the Palio, in particular in the districts called Città and San Martino.

Siena's cathedral (Duomo), begun in the 12th century, is one of the great examples of Italian Romanesque-Gothic architecture. Its main façade was completed in 1380. It is unusual for a cathedral in that its axis runs north-south. This is because it was originally intended to be the largest cathedral in the world, with a north-south transept and an east-west nave, as is usual.[citation needed] After the completion of the transept and the building of the east wall (which still exists and may be climbed by the public via an internal staircase) the money ran out and the rest of the cathedral was abandoned.
Inside is the famous Gothic octagonal pulpit by Nicola Pisano (1266–1268) supported on lions, and the labyrinth inlaid in the flooring, traversed by penitents on their knees. Within the Sacristy are some perfectly preserved renaissance frescos by Domenico Ghirlandaio, and, beneath the Duomo, in the baptistry is the baptismal font with bas-reliefs by Donatello, Lorenzo Ghiberti, Jacopo della Quercia and other 15th century sculptors. The Museo dell'Opera del Duomo contains Duccio's famous Maestà (1308–1311) and various other works by Sienese masters. More Sienese paintings are to be found in the Pinacoteca, e.g. 13th century works by Diotisalvi di Speme.
The shell-shaped Piazza del Campo, the town square, which houses the Palazzo Pubblico and the Torre del Mangia, is another architectural treasure, and is famous for hosting the Palio horse race. The Palazzo Pubblico, itself a great work of architecture, houses yet another important art museum. Included within the museum is Ambrogio Lorenzetti's series of frescos on the good government and the results of good and bad government and also some of the finest frescoes of Simone Martini and Pietro Lorenzetti.
On the Piazza Salimbeni is the Palazzo Salimbeni, a notable building and also the medieval headquarters of Monte dei Paschi di Siena, one of the oldest banks in continuous existence and a major player in the Sienese economy.
Housed in the notable Gothic Palazzo Chigi on Via di Città is the Accademia Musicale Chigiana, Siena's conservatory of music.
Other churches in the city include: Basilica dell'Osservanza, Santa Maria dei Servi, San Domenico, San Francesco, Santo Spirito and San Martino.
Sanctuary of Santa Caterina, incorporating the old house of St. Catherine of Siena. It houses the miraculous Crucifix (late 12th century) from which the saint received her stigmata, and a 15th century statue of St. Catherine.
The city's gardens include the Orto Botanico dell'Università di Siena, a botanical garden maintained by the University of Siena.
The Medicean Fortress houses the Enoteca Italiana and the Siena Jazz School, with courses and concerts all the year long and a major festival during the International Siena Jazz Masterclasses. Over two weeks more than 30 concerts and jam sessions are held in the two major town squares, on the terrace in front of the Enoteca, in the gardens of the Contrade clubs, and in numerous historical towns and villages of the Siena province. Siena is also home of Sessione Senese per la Musica e l'Arte (SSMA), a summer music program for musicians, is a fun/learning musical summer experience.
In the neighbourhood are numerous patrician villa, numerous of which attributed to Baldassarre Peruzzi: Villa Chigi, Castle of Belcaro, Villa Celsa, Villa Cetinale and Villa Volte Alte.

Siena | Palazzo Pubblico
Siena | Duomo


Francesco di Giorgio Martini, Madonna del Terremoto, detail, 1467, Archivo di Stato, Siena



Podere Santa Pia, with its wide panoramic terrace overlooking the Maremma and Monte Christo (August)



This article incorporates material from the Wikipedia articles Siena, (Siena) published under the GNU Free Documentation License.